Counterpoint and Compositional Process in the Time of Dufay

Toward a Comprehensive View of Compositional Priorities in the Music of Dufay and His Contemporaries, Kevin N. Moll * Dufay-Creator of Fauxbourdon, from Acta Musicologica, Heinrich Besseler * Toward a History of the Genesis of Fauxbourdon, from Acta Musicologica, Rudolf von Ficker * Tonal Harmony and Full Sonority: A Reply to Rudolf von Ficker, from Acta Musicologica, Heinrich Besseler * Harmony in the Cantus-Firmus Compositions of the Fifteenth Century, from Archiv fyr Musikwissenschaft, Bernhard Meier * The 'Tonal Discant' and 'Free Discant' Techniques of Composition in the Fifteenth Century, from Archiv fyr Musikwissenschaft, Ernst Apfel * The Cantus-Firmus Question in the Fourteenth and Early Fifteenth Centuries, from Archiv fyr Musikwissenschaft, Gynther Schmidt * The Origin of True Four-Voice Counterpoint in England, from Archiv fyr Musikwissenschaft, Ernst ApfelFour-Voice Counterpoint in the Fourteenth and Fifteenth Centuries, from Archiv fyr Musikwissenschaft, Ernst Apfel * The Harmonic Structure of Late Medieval Music as a Foundation of Major-Minor Tonality, from Die Musikforschung, Ernst Apfel * Late Medieval Harmonic Structure and Major-Minor Tonality, from Die Musikforschung, Ernst Apfel * Tonality and Harmony in the French Chanson between Machaut and Dufay, from Archiv fyr Musikwissenschaft, Wolfgang Marggraf * The Effect of Medieval English Polyphony upon the Development of Continental and Cantus-Firmus Techniques and Tonal Structure, from Archiv fyr Musikwissenschaft, Ernest H. Sanders Index. Appendix. Bibliography